Gary Goldstein

The film over-relies on blunt messaging, one-note villains (bullies, bosses, administrators, worst mall cop ever) and several stacked-deck situations to align us with David and Po, even if we’re inherently on their side from the start.

How the then-newbie performers’ jackpot roles in the heady, heartbreaking show informed their lives and careers forms much of the movie’s stirring narrative spine.

Director Papu Curotto brings Andi Nachon’s tender script to life with stirring economy and warmth as well as a wistfulness so palpable it’s practically its own character.

[A] vital, absorbing documentary.

This capably-acted and shot film...tries too hard to hammer home its points. So much so that its messaging becomes diffused, if not lost, amid the overlong picture’s mounting frenzy.

Hunter Gatherer is a warmly eccentric little indie that’s amusing, authentic and works against expectation. B

Anne Frank: Then and Now may be an oddly structured little docudrama but it makes the most of its eerily cogent message.

Even with several contrivances in the movie’s final third, this remains a taut, haunting ride thanks to solid writing and directing by Zack Whedon (Joss and Jed’s younger brother) and a strong, sympathetic performance by Paul. Find this one.

Greater technical and financial detail, additional period context, a deeper look at what makes daredevils such as Branson and Lindstrand tick, and snappier overall chronicling would’ve made this fun ride truly soar.

Although it’s an often repellant, uneven film that, in the end, doesn’t amount to a whole lot, there’s something thrilling and a bit liberating about the anarchic vibe that permeates this stylized walk on the wild side.

The story of The David Dance might have seemed more timely and vital when first presented as a play in 2003. Today, however, the delayed film version (it was shot in 2009) feels remarkably dated. It’s also logy, stagey and overlong.

Although it aspires to be a kind of latter-day “Love Story,” the rote, overly earnest drama New Life exists largely on the surface.

Despite the use of strong archival clips and photos, the film, with its ongoing stream of talking heads, can make for static, at times sluggish viewing. Still, this key episode in American military history deserves to be commemorated.

The punk and metal music-infused soundtrack belies the film’s largely gentle approach to a series of small, evocative and well-played moments that combine to slowly heal the Lunsfords and prove that you can go home again.

As it stands, this abysmal romantic comedy serves as an abject lesson against vanity filmmaking.

A memorable romantic comedy that stands to bring back the genre’s good name, “It Had to Be You” is as funny, endearing and enjoyably off-kilter as its adorable star, Cristin Milioti.

Star and first-time director Ewan McGregor, working with screenwriter John Romano, has skillfully reshaped Roth’s tale for more urgent cinematic telling, covering a host of profound themes with disquieting power, reflection and grace.

Unfortunately, the climactic table-turning here feels more mechanical than cathartic and does little to elevate the film’s undistinguished narrative.

When Morin ventures into more mundane territory, including several parent-child scenes, the film — and the performances — can feel forced and inauthentic. But as a zeitgeist-heavy memory piece, NY84 knows its stuff.

The largely improvisational approach as well as the limited settings and story arc also undercut the picture’s deeper dramatic potential — despite a powerful, beautifully performed finale.

Unfortunately, this improvised film (Guest’s actors work off a detailed outline) contains the occasional titter but few guffaws.

Characters and situations are painted in such simple, broad strokes, we’re asked to take much at face value.

With its muddy timeline, kaleidoscope of fantasies, flashbacks and hallucinations, broad characterizations and sitcom slickness, the film never settles down long enough to congeal, much less feel remotely connected to reality.

The “time travel” bit kicks in for real — or rather surreal. But this half-baked device proves too little, too late and fails to jump start the film’s prosaic narrative.

Despite the film’s brief running time, it packs in vital social context, gay history and nostalgic imagery along with some sad truths.

Although there are contrivances, and Joe’s blurry “catfishing” tale meanders, these folks’ emotional growth feels authentic and touchingly earned.

Equine fans: Gallop, don’t trot to Ron Davis’ winning documentary Harry & Snowman, which recounts the inspiring story of an underdog show horse, his tenacious trainer and their rise to fame in the late 1950s.

For a drama that’s as quiet and circumspect as Chronic, it’s a decidedly bold film, one that pulls few punches as it slowly peels away the emotional layers of its complex protagonist. t also features an ending that’s as devastating as it is shocking.